ECNMA
LONDON 6
HOME OF EXPERIMENTATION FOR THE SCIENTIST MICHAEL FARADAY, THE LIGHTHOUSE, AS A HISTORICAL PLACE AND AS A SYMBOL, BECOMES THE LEITMOTIF OF THE PROJECT. THE PROPOSAL LOOKS AT THE PAST TO EMPHASISE ON ITS HISTORICAL IMPORTANCE AND SO TO CREATE A SENSE OF PLACE AND MOVES ON LOOKING AT THE FUTURE OF THE AREA WHICH IS UNDERGOING RAPID CHANGE AND DEVELOPMENT. THEREFORE, THE CIVIC BUILDING BECOMES A MEDIATOR BETWEEN TWO DEMOGRAPHICS: THE FUTURE RESIDENTS OF A HIGH RISE DEVELOPMENT IN LEAMOUTH PENINSULA AND THEIR NEIGHBOURS LIVING IN TWO OF THE MOST DEPRIVED BOROUGHS OF LONDON: TOWER HAMLETS AND NEWHAM. FOR THIS PURPOSE, THE DESIGN ENCOMPASSES A VAST ARRAY OF PUBLIC SPACES AND AMMENITIES. THE EXISTING BUILDING REMAINS PREDOMINANTLY INTACT AND OPEN TO EVERYONE TO ACCESS, EXPANDING THE PUBLIC REALM INTO AN URBAN LIVINGROOM. ALL THE ACTUAL PROGRAMS OF THE EXPERIMENTAL CENTRE FOR NEW MEDIA ART (ECNMA) ARE PLACED UNDERGROUND. THE LIGHTHOUSE IS THE CENTRE POINT OF THE OUTDOOR AMPHITHEATRE WHICH SERVES AS BOTH A GRAND ENTRANCE TO THE PERFORMANCE SPACES BELOW, A FREE PUBLIC SPACE FOR INFORMAL ACTIVITIES AND AN EVENT SPACE ON SPECIAL OCCASIONS.
ACADEMIC | JUN 2018 | INDIVIDUAL PROJECT
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1803
ORCHARD HOUSE ESTATE (PEMELL ESTATE) TOOK ITS NAME FROM THE ORCHARD HOUSE. THE ORCHARD WAS IN EXISTENCE BY AT LEAST THE LATE 16TH CENTURY AND DISAPPIERED BETWEEN 1746 - 1769. ORCHARD HOUSE WAS OCCUPIED AS A PUBLIC HOUSE FROM AT LEAST THE EARLY 18TH CENTURY UNTIL THE 1860S. VARIOUS ANCILLARY BUILDINGS, TO THE NORTH AND EAST, INCLUDED A ‘DRINKING HOUSE ‘, A BAKEHOUSE, A STABLE, A COWHOUSE AND IN FRONT A TEA HOUSE OVERLOOKING THE THAMES.
1867-9
THE ORCHARD HOUSE WAS DEMOLISHED AROUND 1870S AND THE SITE BECAME A BOATYARD. AFTER BEING BOUGHT AND SOLD SEVERAL TIMES BY PRIVATE OWNERS, IT BECAME THE EAST INDIA DOCK COMPANY PROPERTY IN 1815. THE ICONIC EXPERIMENTAL LIGHTHOUSE, AND ITS NEIGHBOUR THE CHAIN AND BUOYS STORE WERE BUILT BY DOUGLASS IN 1864 AND WERE IN CONSTANT USE TO TEST MARITIME LIGHTING EQUIPMENT AND TRAIN LIGHTHOUSE KEEPERS.
ACADEMIC | JUN 2018 | INDIVIDUAL PROJECT
1969-74
THE WHARF CONTINUED THROUGH THE TWENTIETH CENTURY TO BE RESPONSIBLE FOR SUPPLYING AND MAINTAINING NAVIGATION BUOYS AND LIGHTSHIPS BETWEEN SOUTHWOLD IN SUFFOLK AND DUNGENESS IN KENT. IT WAS MODERNISED AND PARTIALLY REBUILT BETWEEN 1947 AND 1966, AND FINALLY CLOSED ON 3RD DECEMBER 1988 WHEN IT WAS PURCHASED BY THE LONDON DOCKLANDS DEVELOPMENT CORPORATION. IN 1998 URBAN SPACE MANAGEMENT TOOK THE SITE ON A LONG LEASE.
CHANGES AND TRANSFORMATIONS IN TIME
8
THE ROOF SPACE ADJOINING THE PRESENT LIGHTHOUSE HOUSED THE WORKSHOP FOR THE FAMOUS SCIENTIST MICHAEL FARADAY.
HISTORICAL IDENTITY
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MULTIPLE REDEVELOPMENT PROJECTS FROM EAST LONDON INCLUDE WELL ESTABLISHED MUSEUMS, THEATRES AND UNIVERSITIES IN SEARCH FOR ESTABLISHING A CONNECTION WITH EAST LONDON. THE PROPOSAL FOLLOWS THE TREND OF RELOCATING CULTURE TO THE EAST, WHILE SEARCHING FOR A BALLANCE IN THE RELATIONSHIP BETWEEN CULTURAL INSTITUTIONS, ARTISTS, CONSUMERS AND NON CONSUMERS OF ART. THE AIM IS TO BRING SHARED BENEFIT FOR DIFFERENT SOCIAL CLASSES.
CURRENT TREND - CULTURAL INSTITUTION MOVING EAST
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NOW SC 1:500 28 28
| Preparing for Professional Practice | ARC16302 | | Preparing for Professional Practice | ARC16302 |
NOW THEN SC 1:500
PREDOMINANTLY INDUSTRIAL, THE SITE AND THE SURROUNDING AREA HAS BEEN TRANSFORMED OVER TIME IN A PLACE WHERE SMALL INDEPENDENT CREATIVE ORGANIZATIONS HAVE SOUGHT REFUGE.
28 SC 1:500 29 29 28
| Preparing Professional Practice | ARC16302 Preparing forfor Professional Practice ARC16302 ||Preparing for Professional Practice ||ARC16302 |||| | Preparing for Professional Practice | ARC16302
NOW AND THEN
IN THE NEAR FUTURE, THE DEVELOPMENT GOOD LUCK HOPE WILL CREATE A NEW RIVERSIDE NEIGHBOURHOOD COMPRISING 804 HOMES AND OTHER COMMERCIAL SPACES.
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ACADEMIC | JUN 2018 | INDIVIDUAL PROJECT
CONCEPT EXPLORATION THROUGH HAND SKETCHING
12
STUDY OF THE EXISTING STRUCTURE
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PROVIDING A TESTIMONY OF THE PAST, THE VASSELS WILL BE ACCESSIBLE TO VISITS, WORKSHOPS AND TOURS. THE PRESENCE OF THE HISTORICAL VASSELS WILL BE COMPLEMENTED WITH THE PRESENCE OF ELEVATED PATHWAYS DESIGNED TO PROVIDE NEW PERSPECTIVES OVER THE HERITAGE.
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MASTERPLAN CONCEPT DEVELOPMENT
14
PROGRAM DEVELOPMENT
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15
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ELEVATION ACROSS RIVER LEA
16
MASTERPLAN PUBLIC CIRCULATION
SITE PUBLIC CIRCULATION
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1 OUTDOOR AMPHITHEATRE 2 ACCESS MEDIATHEQUE 3 THEATER AND MUSEUM MAIN ENTRANCE 4 RAMP ACCESS 5 LIGHTWELL OFFICES 6 NEW GLAZED ROOF REPLACEMENT 7 EXISTING ROOF 8 CONCRETE EXTETION 9 MAIN AUDITORIUM FLYTOWER 10 ACTORS ENTRANCE 11 FIRE EXIT 12 LOADING BAY 13 PAVILION FOR STORAGE AND RENTING KAYAKS 14 STEPPED WOODEN DECK
15 SEATING AREA MEZZANINE LEVEL 16 ENTRANCE GROUND FLOOR PUBLIC AMENITIES 17 LIFT ACCESS THEATER AND MUSEUM 18 CAFETERIA SPACE 19 COUNTER / BAR DURING NIGHT 20 BOX OFFICE 21 TOILETS 23 KITCHEN 23 STORAGE 24 LIFT ACCESS MUSEUM AND MEDIATHEQUE
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25 RECEPTION MEDIATHEQUE 26 RESEARCH AND ARCHIVES AREA 27 STUDY AREA 28 OFFICE 29 BOARDROOM 30 STAFF BREAK AREA 31 PLANT ROOM 32 ATRIUM 33 ENTRANCE LIGHTHOUSE MUSEUM 34 BALCONY MAIN AUDITORIUM 35 BALCONY INFORMAL AUDITORIUM 36 BAR 37 MULTI-PURPOSE REHEARSAL STUDIO 38 SINGLE CHANGING ROOM 39 COMMUNAL CHANGING ROOM 40 CONTROL ROOM
41. TICKET OFFICE MUSEUM 42. RAMP EXPERIENCE MUSEUM 43. CLOAKROOM 44. SECONDARY ATRIUM 45. COSTUME ROOM 46. GREEN ROOM 47. STALLS 48. FLEXIBLE STAGE 49. CONNECTION SPACE 50. WING 51. DOCK 52. BACKSTAGE 53. HIGH TECH MULTIMEDIA PERFORMANCE SPACE 54. INFORMAL PERFORMANCE SPACE
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55. RESEARCH STUDIO 56. MULTI-PURPOSE EXHIBITION SPACE 57. LIGHT INSTALLATION EXHIBITION SPACE
55. RESEARCH STUDIO 56. MULTI-PURPOSE EXHIBITION SPACE 57. LIGHT INSTALLATION EXHIBITION SPACE
58. LOUNGE + INFO POINT 59. CAFE 60. DOUBLE HEIGHT EXHIBITION SPACE 61. PROJECTION EXHIBITION SPACE
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22
ACCESS TO THE MEDIATHEQUE IS PROVIDED THROUGH A DESCENDING RAMP WHICH SLOWLY REVEALS THE LARGE BURRIED SPACE UNDERNEATH THE FORMER CHAINSTORE. PERSPECTIVES THROUGH THE UNDERGROUND MUSEUMS ARE DISCLOSED, ONCE UNDERNEATH THE AMPHITHEATRE. THE MUSEUMS COULD BE ACCESSED ALSO FROM THE MEDIATHEQUE FOLLOWING THE CONTINUOUS DESCENDING RAMP. THE LIGHT AND SOUND SLOWLY CHANGE THEIR QUALITY, BECOMING MORE SOLEMN AND MEDITATIVE, WHILE THE VISITOR IS IMMERSING DEEPER AND DEEPER INTO THE DEPHTS OF THE BUILDING.
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24
THE TRANSITION BETWEEN THE OLD AND THE NEW IS RENDERED VISIBLE THROUG THE CHANGE IN MATERIALITY. THE VISCERAL QUALITY OF THE OLD BRICK IS EMPHASISED THROUGH THE PURENESS OF THE CONCRETE.
THE MUSEUM IS PLACED ON THE AXIS OF THE LIGHTHOUSE AS A GROUNDED CONTINUATION OF ITS HISTORICAL VALUE. THE JOURNEY DESCENDING THE STAIRCASE NARRATES THE STORY OF THE SITE AND ITS SURROUNDING AREAS, WHILE THE RAMP WHICH WRAPS AROUND THIS CORE OFFERS AN INTERACTIVE EXPERIENCE OF THE MUSEUM OF NEW MEDIA ART. IN THIS PLACE, MEMORY AND FUTURE MEET UP TOGETHER.
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25
26
27
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THE AMPHITHEATRE ACTS BOTH AS A GRAND ENTRANCE TO THE THEATRE AND MUSEUM, AS WELL AS A GATHERING SPACE FOR EVERYDAY ACTIVITIES.
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29 THE EXPERIMENTAL CENTRE FOR NEW MEDIA ART APPEARS RATHER MODEST, DESCENDING FROM THE FERRY.
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30 THE GROUND FLOOR OF THE BUILDING CONTINUES THE PUBLIC SPACE INSIDE . THE ACT OF SEEING AND BEING SEEN IS EMBODIED IN THE ARCHITECTURE THROUGH OPEN PERSPECTIVES.
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31 MULTIPLE ROUTES AND ACCESSES TO THE PERFORMING SPACES ARE INTENDED TO FREE UP THE CONFINED SPACE OF AN AUDITORIUM AND ALLOW FOR EXPERIMENTATION IN COREOGRAPHING THE JOURNEY
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32
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33 THE LIGHTHOUSE HAS BEEN EXTENDED UNDERGROUND CREATING A CONTINUOUS VERTICAL AXIS OF CIRCULATION.
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35 WRAPPED AROUND THE AXIS OF THE LIGHTHOUSE, THE RAMP DIRECTS A SLOWER PASED EXPERIENCE OF THE MUSEUM.